Rematerializing Shakespeare: Authority and Representation on the Early Modern English Stage

238 Pages·2005·30.835 MB·English

by  Bryan Reynolds, William N. West (eds.)

Rematerializing Shakespeare
Also by the editors
Bryan Reynolds
TRANSVERSAL ENTERPRISES IN THE DRAMA OF SHAKESPEARE AND HIS
CONTEMPORARIES: Fugitive Explorations (London: Palgrave Macmillan,
forthcoming)
PERFORMING TRANSVERSALLY: Reimagining Shakespeare and the Critical Future
(New York: Palgrave Macmillan, 2003)
BECOMING CRIMINAL: Transversal Performance and Cultural Dissidence in Early
Modern England (Baltimore: John Hopkins University Press, 2002)
SHAKESPEARE WITHOUT CLASS: Misappropriations of Cultural Capital, co-editor with
Donald Hedrick (New York: Palgrave Macmillan, 2000)
William N. West
THEATRES AND ENCYCLOPEDIAS IN EARLY MODERN EUROPE
(Cambridge University Press, 2002)
Rem a terializing
Shakespeare
Authority and Representation on the
Early Modern English Stage
Edited by
Bryan Reynolds
&
William N. West
Introduction, editorial matter and selection
© Bryan Reynolds & William N. West
All chapters © Palgrave Macmillan 2005
Softcover reprint of the hardcover 1st edition 2005
All rights reserved. No reproduction, copy or transmission of this
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as the authors of this work in accordance with the Copyright,
Designs and Patents Act 1988.
First published in 2005 by
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ISBN 978-1-349-54264-2 ISBN 978-0-230-50503-2 (eBook)
DOI 10.1007/978-0-230-50503-2
This book is printed on paper suitable for recycling and made from fully
managed and sustained forest sources.
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Rematerializing Shakespeare :authority and representation on the early
modern English stage I edited by Bryan Reynolds and William N. West.
p.cm.
Includes bibliographical references and index.
ISBN 978-1-4039-9120-1 (cloth)
1. Shakespeare, William, 1564-1616-Stage history-To 1625.
2. Shakespeare, William, 1564-1616 -Stage history-England. 3. Theater
England - History-16th century. 4. Theater-England - History-17th
century. 5. Theater audiences in literature. I. Reynolds, Bryan (Bryan Randolph).
II. West, William N.
PR3095.R46 2005
822.3'3-dc22 2005049195
10 9 8 7 6 5 4 3 2 1
14 13 12 11 10 09 08 07 06 OS
Transferred to digital printing in 2006.
For
Robert Weimann
Because of your courageous example,
your manifold inspiration,
and your well-deserved authority
Thank you
Contents
List ofI llustrations ix
Acknowledgments X
Notes on Contributors xi
Introduction
Shakespearean £mergences: Back from Materialisms to
Transversalisms and Beyond 1
Bryan Reynolds & William N. West
Part I The Form and Pressure of the Time: Popular
and Unpopular Traditions 17
1 'Strike All that Look Upon With Marvel': Theatrical and
Theological Wonder in The Winter's Tale 19
Huston Diehl
2 Performance and Urban Space in Shakespeare's Rome,
or 'S.P.Q.L.' 35
D. f. Hopkins
3 Shakespeare's Little Boys: Theatrical Apprenticeship and the
Construction of Childhood 53
Catherine Belsey
Part II What's the Matter? Revisions and
Reversions in Pen and Voice 73
4 Rematerializing Shakespeare's Intertheatricality:
The Occidental/Oriental Halimpsest 75
Jonathan Gil Harris
S The Politics of Shakespeare's Prose 95
Douglas Bruster
6 Mercutio's Bad Language 115
William N. West
7 Nanti Everything 130
Terence Hawkes
vii
viii Contents
8 Authority and the Early Modern Theatre:
Representing Robert Weimann 139
John Drakakis
Part III Creatures Sitting at a Play: The
Authority and Representation of Audiences 159
9 Homo Clausus at the Theatre 161
David Hillman
10 Figuring the Consumer for Early Modern Drama 186
Kathleen McLuskie
11 The Delusion of Critique: Subjunctive Space, Transversality,
and the Conceit of Deceit in Hamlet 207
Anthony Kubiak & Bryan Reynolds
Index 226
List of Illustrations
1 Sanders Portrait. Digital Image © Art Gallery of Ontario. 2
2 Kevin Chadwick, 'Shakespeare Dude,' used by the World
Shakespeare Congress, the Shakespeare Association of America,
and the Folger Shakespeare Library. Reproduced by permission
of Chadwick Design Inc. 3
3 'Tattoo Bill,' by Mathew McFarren. Poster from The Colorado
Shakespeare Festival, 2003. Reproduced by courtesy of The
Colorado Shakespeare Festival and Mathew McFarren. 4
4 'Flying Will,' by Mathew McFarren. Poster from The Colorado
Shakespeare Festival, 2005. Reproduced by courtesy of The
Colorado Shakespeare Festival and Mathew McFarren. 5
5 Jacket design by Julia Kushnirsky, with 'Shakespeare Dude' image
by Kevin Chadwick for Bryan Reynolds, Perfonning Transversally:
Reimagining Shakespeare and the Critical Future (New York:
Palgrave Macmillan, 2003). Reproduced by permission of
Palgrave Macmillan and Chadwick Design Inc. 14
6 Tomb of Jane, Lady Waller, 1630s, Bath Abbey (detail).
Photo by Andrew Belsey. 64
7 Marcus Gheeraerts, Barbara, Lady Sidney and her Children,
1596. Reproduced by kind permission of Viscount De L'Isle,
from his private collection at Penshurst Place. 65
ix
Acknowledgments
Along with this book's dedicatee, Maja Weimann is an inspiration for her
generosity, kindness, and wisdom.
Bryan Reynolds is grateful to Peter Eversmann, Amy Cook, Glenn Odom,
Janna Segal, and especially Allison Crilly for their valuable feedback on his
and Anthony Kubiak's contribution to this book. He is also happy to have
been pampered along by Greg Ungar, Thomas Augst, Cipriana Petre, Ayanna
Thompson, Henry Turner, Jonathan Gil Harris, Janelle Reinelt, Robert Cohen,
and Cameron Harvey when trying to contend with way too many commit
ments. He was fortunate to be doing some pampering himself, since it was
during the process of putting this book together that his lovely daughter Sky
joined him and his wife Kris in this wacky world. It is Kris that makes it all
so wonderful.
Will West also thanks his colleagues in early modern studies at the
University of Colorado, Chris Braider, Katherine Eggert, and Valerie Forman,
honorary Renaissance guy Mark Winokur for keeping the intellectual pres
sure, and administrative heroes Katherine Eggert (again), John Stevenson,
and Doug Burger for taking the committee pressure off. But above all Will is
grateful to Amy Ebert, who arrived almost at the beginning of this book and
has stayed on despite late nights until its end.
Reynolds and West are both grateful to Mell McDonnell and Dick Devin of
The Colorado Shakespeare Festival, who generously allowed us to use their
posters. They are grateful to Allison Crilly for her tireless editorial where
withal and persevering laughter. Finally, they would like to thank Paula
Kennedy, their editor, and Helen Craine, Paula's assistant, for their unrelent
ing enthusiasm for this project and for their hard work in bringing it to
fruition.
X